Dealing with big data

No abstract available

Transcending boundaries : the arts of Islam : treasures from the Nassar D. Khalili Collection

This thesis examines and problematizes curatorial decision-making favouring the experiential encounter over interpretative/didactic modes of display when the museum’s mandate is to promote cross-cultural understanding between Muslim and Non‐Muslim communities through displays of Islamic art and culture. Based on a case study of the travelling exhibition The Arts of Islam: Treasures from the Nassar D. Khalili Collection, this investigation traces the journey of a collection of artifacts through four exhibitionary sites (Sydney, Abu Dhabi, Paris, and Amsterdam) from 2007-2011. A central aim of this study is to demonstrate the polysemic nature of artifacts when placed in the museum context by exploring the notion that objects acquire additional meanings as a result of site‐specific curatorial decision‐making. To this end, a theoretical model is developed and applied that profiles how differing practices, procedures and policies of display involve a process of (re)presentation, (re)contextualization, disruption and transformation, affected by and impacting upon particular social, political and cultural nuances in the wider public sphere. A ‘tool box’ approach to analysis is adopted, drawing on a range of theories from the fields of post-colonial studies, museology, and cultural theory. Interviews with a cross-section of stakeholders from exhibition venues provide empirical evidence for the evaluation of the experiences, opinions and perspectives of sponsors, curators and museum audiences who were involved in or attended exhibitions and their related events. Additionally, conversations with museum professionals from a range of prominent institutions are included to allow comparison with the travelling display. In conjunction with findings from primary and secondary sources, discussions will involve reference to museological challenges and dilemmas including: East/West relations historically; Orientalism and practices of Islamic collecting by individuals and organizations; the effects of patronage and sponsorship especially the influence of corporations; the material, aesthetic and commercial properties of the museum object; and questions arising from representations of cultural and aesthetic objects through particular politics of display. These issues are analysed for their interaction with discourse and debates concerning: identity politics, nation building, modernity, governmentality, colonial legacies, multiculturalism, art markets and their collectors, and influence of the media. Final conclusions evaluate the success of these cultural and artistic enterprises and recommendations include the adoption of new museological practices and policies of display that are inclusive of diverse audiences and have the potential to increase cross-cultural understanding on both the local and global level

Digital History and Hermeneutics

For doing history in the digital age, we need to investigate the “digital kitchen” as the place where the “raw” is transformed into the “cooked”. The novel field of digital hermeneutics provides a critical and reflexive frame for digital humanities research by acquiring digital literacy and skills. The Doctoral Training Unit "Digital History and Hermeneutics" is applying this new digital practice by reflecting on digital tools and methods

Music - Media - History: Re-Thinking Musicology in an Age of Digital Media

Music and sound shape the emotional content of audio-visual media and carry different meanings. This volume considers audio-visual material as a primary source for historiography. By analyzing how the same sounds are used in different media contexts at different times, the contributors intend to challenge the linear perspective of (music) history based on canonic authority. The book discusses AV-Documents (analysis in context), methodological questions (implications for research, education, and popularization of knowledge), archives of cultural memory (from the perspective of Cultural Studies) as well as digitalization and its consequences (organization of knowledge)

Music - Media - History

Music and sound shape the emotional content of audio-visual media and carry different meanings. This volume considers audio-visual material as a primary source for historiography. By analyzing how the same sounds are used in different media contexts at different times, the contributors intend to challenge the linear perspective of (music) history based on canonic authority. The book discusses AV-Documents (analysis in context), methodological questions (implications for research, education, and popularization of knowledge), archives of cultural memory (from the perspective of Cultural Studies) as well as digitalization and its consequences (organization of knowledge)

Television Histories: Shaping Collective Memory in the Media Age

From Ken Burns’s documentaries to historical dramas such as Roots, from A&E’s Biography series to CNN, television has become the primary source for historical information for tens of millions of Americans today. Why has television become such a respected authority? What falsehoods enter our collective memory as truths? How is one to know what is real and what is imagined—or ignored—by producers, directors, or writers? Gary Edgerton and Peter Rollins have collected a group of essays that answer these and many other questions. The contributors examine the full spectrum of historical genres, but also institutions such as the History Channel and production histories of such series as The Jack Benny Show, which ran for fifteen years. The authors explore the tensions between popular history and professional history, and the tendency of some academics to declare the past “off limits” to nonscholars. Several of them point to the tendency for television histories to embed current concerns and priorities within the past, as in such popular shows as Quantum Leap and Dr. Quinn, Medicine Woman. The result is an insightful portrayal of the power television possesses to influence our culture. Winner of the 2001 Ray and Pat Browne Award for Outstanding Textbook given by the Popular Culture Association Offers much food for thought in this highly visual age. —Alliance (OH) Review As an example of well-reasoned, original research, Television Histories makes an important contribution to the study of the medium. —Anthony Slide, Classic Images This book is even more timely and provocative because much of the material discussed is being rebroadcast now that digital television is opening even more new channels. —Choice An engrossing collection that slides the thorny subject of television, history, and memory under a microscope. . . . Digs deep into a contemporary phenomenon, and its many conclusions are right on target. —Film & History Helps those of us who care about history think more clearly about how television can shape historical thinking among our friends, neighbors, and students. —Florida Historical Quarterly Television Histories, a pioneer work, weaves an inspired and informed interdisciplinary analysis of television and history. The chapters are enlightening, readable, and entertaining; the editors and the authors have produced a work that enriches and strengthens the study of film and history. —Michael Schoenecke The stuff serious thinkers in a media age should read, mark and remember. —Rockland (ME) Courier-Gazette An insightful and important addition to the literature that sheds light on an often controversial subject for professional historians. —Southern Historian Most of the essays are likely to be of considerable value to any attentive student of television. —Television Quarterly Working from the thesis that people learn about history through television more than any other medium, Edgerton and Rollins look at what TV subliminally teaches us by what is shows and does not show. —Varietyhttps://uknowledge.uky.edu/upk_film_and_media_studies/1020/thumbnail.jp

Rethinking Change

UIDB/00417/2020 UIDP/00417/2020No seguimento da Conferência Internacional sobre Arte, Museus e Culturas Digitais (Abril 2021), este e-book pretende aprofundar a discussão sobre o conceito de mudança, geralmente associado à relação entre cultura e tecnologia. Através dos contributos de 32 autores, de 12 países, questiona-se não só a forma como o digital tem motivado novas práticas artísticas e curatoriais, mas também o inverso, observando como propostas críticas e criativas no campo da arte e dos museus têm aberto vias alternativas para o desenvolvimento tecnológico. Assumindo a diversidade de perspectivas sobre o tema, de leituras retrospectivas à análise de questões e projectos recentes, o livro estrutura-se em torno de sete capítulos e um ensaio visual, evidenciando os territórios de colaboração e cruzamento entre diferentes áreas de conhecimento científico. Disponível em acesso aberto, esta publicação resulta de um projecto colaborativo promovido pelo Instituto de História da Arte, Faculdade de Ciências Sociais e Humanas, Universidade NOVA de Lisboa e pelo maat – Museu de Arte, Arquitectura e Tecnologia. Instituição parceira: Instituto Superior Técnico. Mecenas: Fundação Millennium bcp. Media partner: revista Umbigo. Following the International Conference on Art, Museums and Digital Cultures (April 2021), this e-book seeks to extend the discussion on the concept of change that is usually associated with the relationship between culture and technology. Through the contributions of 32 authors from 12 countries, the book not only questions how digital media have inspired new artistic and curatorial practices, but also how, conversely, critical and creative proposals in the fields of art and museums have opened up alternative paths to technological development. Acknowledging the different approaches to the topic, ranging from retrospective readings to the analysis of recent issues and projects, the book is divided into seven sections and a visual essay, highlighting collaborative territories and the crossovers between different areas of scientific knowledge. Available in open access, this publication is the result of a collaborative project promoted by the Institute of Art History of the School of Social Sciences and Humanities, NOVA University of Lisbon and maat – Museum of Art, Architecture and Technology. Partner institution: Instituto Superior Técnico. Sponsor: Millennium bcp Foundation. Media partner: Umbigo magazine.publishersversionpublishe